The Columnists Wsj

soapbox THE COLUMNISTS WSJ. asks six luminaries to weigh in on a single topic. This month: Status quo. CLAIRE THOMAS BENJAMIN JEANNE JOHN LOUISE MESSUD CARTER CLEMENTINE GANG LITHGOW FISHMAN “I grew up with all these “Status quo can certainly “It’s important for all “The very nature of “To me the status quo “Status quo is something contradictory messages have a pejorative con- of us to tap into things architecture concerns is, as the Latin says, the that you think exists, when it came to the notation. Before opening that make us uncom- change. Design requires present moment, the but it’s just a framework status quo and how it Estela, my business fortable. It’s good to a strategic plan of action way things are now. But for how we live, the related to the lives partner Ignacio [Mattos] challenge yourself as for the future; it’s pro- I guess the larger mean- formation that helps us of girls and women. My and I each spent time at an artist, because that gressive by definition. ing of it is somewhat like ‘understand’ the world, mother was an active places that upended the opens portals to new For a certain generation the word zeitgeist—what when in fact we under- feminist in her reading status quo in terms of discoveries. I’m always of architects, change only is the prevailing mood? stand nothing of it. I was and the things she said fine dining. For instance, looking for ways to tap pertains to buildings’ The movie industry is involved in a radical part to us, and yet in her daily I used to work at Blue into my vulnerability, ‘style.’ This is a very sta- odd, because on the one of the feminist move- life she was a traditional Hill. Dan Barber, the chef to provoke something I tus quo approach, which hand it has to reinforce ment that caused me wife—she married there, really changes never knew before. The can limit architecture’s people’s prejudices so as to examine everything in the ’50s and was still people’s perception people I adore, from potential in multiple to appeal to what they I did. The whole tradi- living in the ’50s in the of dining—how they’re Tom Waits to Prince to ways. To me, climate want to see—it resorts tion of art history I was ’90s. I adored my dad, eating, where they’re Virginia Woolf, they change and other major to clichés in a sense—but deeply immersed in was but I don’t believe he sourcing their ingredi- changed things. Look challenges we face today on the other hand it’s an male. I was also one of ever boiled an egg. So ents. So when Ignacio at David Bowie. Look require innovative design industry that can change the few women who that question—what is and I opened Estela, at Jimi Hendrix. They and delivery methods. people’s minds. Take worked among a group of the status quo?—was our thought was that experimented. I can This entails expanding movies like Moonlight, young male artists. So I always fairly compli- there weren’t too many never be like them; I can the definition of what for example, or Easy initially rejected as much cated. Certainly, they restaurants in New only hope that one day architecture is and the Rider. They’re little films as I could, including the were specific concerns York where you could I will have my own sort range of people who that turn into big revolu- male understanding in my novel The Woman get that quality of wine of space. It’s not that I practice it. Architects tionary statements. about art history. I cut Upstairs, in terms of program, service and want people to think I’m can act as agents of In Beatriz at Dinner, up my grid paintings and Nora’s desire to be an food without the price different for superficial change in order to build I play a billionaire real stitched them together, artist and the ways in tag. (Although Estela reasons. It’s merely sustainably and meet the estate developer, an trying to absorb a which all those contra- isn’t cheap!) Nowadays, about expressing things varied needs and aspira- archetype for our times. tradition that I’d never dictions play out in her it’s expected that we all your own way. And if you tions of society, but we It’s a movie about a din- identified with, which life. But I would say an work ourselves to the do what you want to do must develop new modes ner party where all the was a woman’s tradition interest in the messy bone, so we try to strip and it’s similar to some- of thinking. Supporting a standard procedures are of quilting and sewing. reality of those contra- away all the extra things one else, that’s fine, too. more diverse generation disrupted. It becomes I mean, I hated that stuff, dictions is something that cloud the experience But it’s quite fulfilling to of practitioners to a really interesting but I knew I was going to that I’ve internalized. and try to get to the pure be able to do things your address these challenges metaphor because, boy, have to sink myself into That’s been part of my experience, to allow way. I suppose that’s will pave the way for are we at a moment when it in order to understand experience my whole a diner to connect with what being an artist is innovation, but strangely standards are being the richness there. The life, not only with my whomever they’re dining really all about.” there’s still resistance disrupted. What’s going movement really gave me family, but in watching alongside.” to this within our to happen when we permission to be exactly other people’s lives.” profession. For a field don’t have any structures who I was.” that’s about change, to fall back on?” it’s self-defeating.” Fishman is an artist. Her solo exhibition at Cheim & Read Messud is an author. Her novel Carter is co-owner of Estela, Clementine is a singer- opens this month, as does a The Burning Girl was released Café Altro Paradiso and Flora songwriter. His new album, retrospective at Weatherspoon last month. Bar in Manhattan. I Tell a Fly, is out next month. Gang is an architect. Lithgow is an actor. Art Museum. 42 wsj. magazine.

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